Gamedev Atricles

Adapting the Tools of Drama to Interactive Storytelling:
http://www.gamasutra.com/features/20010914/littlejohn_01.htm

This article is a great read as it discusses the current dilemma of having a compelling story and good characters within games, particularly action games. The author suggests "the reason for the action is more important than the action itself" which is a crucial element for game designers and writers to remember. In order for games to appeal to a wider audience, and keep their interest throughout the length of the game, the story and characters are even more important than the action. As the popular game Myst and its successors demonstrated, the story within games can create a whole world of possibility for players, and even make them thoroughly enjoy the four sequels to follow.

Elements of story such as suspense, conflict and emotion, are perhaps the most important part of games today, as players are looking for more than just the experience of taking out the bad guys and scoring points. The players involvement in the story and the emotional gratification received when an element of the story is completed, a character changes or an unexpected plot point arises, is what makes interactive games compelling and worth playing. Without these elements, many action and interactive games would not be as popular as they are today, thus another important point for scriptwriters and designers to acknowledge is that "a dramatic work...cannot survive without emotion."

Irreconcilable Differences: Game vs. Story:
http://www.gamedev.net/reference/articles/article887.asp

This article suggests that the elements of 'story' and of 'game' are structured opposites that require the player/audience to take on two contradicting states of mind, that is, that stories are pre-determined and games, like real life, are not pre-determined. As we can acknowledge that stories are planned, rigged experiences that we undertake to gain some sort of emotional satisfaction, and that games are apparently not pre-determined mediums for pleasure and entertainment, then the confusion of their combination becomes evident. In order to experience a game that is rich in both elements of story and unpredictable gaming, then the player/audience is subjected to a contradictary experience. The problem is, as suggested in the article, that when it comes to stories, "if we openly, consciously admit that it's all rigged, then it holds no emotional weight" and it is that emotional weight that makes the story believable and/or compelling in the first place. Therefore if that is lost, the story no longer holds our attention or seems worth our time.

The games that seem to "successfully blend narratives with interactive puzzles" are adventure games such as Myst and, as the article author suggests, "Riddle of Master Lu." These interactive games/stories are successful, due to their removal of unneccessary characters, complex plot lines and irrelevant action. By putting the player directly into the story and having them assume the main position within the plot, as the 'character' capable of influencing and altering the circumstances and story-line, the enigma of story Vs. game is dispersed. Hence why these games become some of the best and most popular so quickly.